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I've seen quite a few J. Lee Thompson films now and I'm left wondering exactly what the general critical opinion is on him.

I tend to be out of touch with these things, but I have to say that he's a director that has rarely disappointed me. Admittedly I haven't seen all that many of his films from the end of his career where he and Charles Bronson phoned in a bunch of half-arsed action films together, but his versatility and consistency from earlier in his career continues to impress me.

Here we see him tackling a devil-worshipping horror film, a task that seemed quite thankless when it was released…

An arrow of psychotronic sorcery. Mesmerizing, metaphysical, monochromatic, mad in the head. Combining family crisis melodrama of the 1950s with giant gothic castles and deep forest druid cult ritualizing. Certain times almost feels like Bava’s Eyes Wide Shut. David Hemmings, Donald Pleasance, Sharon Tate, all in the same cult. I live for this type of nonsense.

Opening with a very art house disconcerting quick cut montage "Eye of the Devil" establishes itself as a movie with higher stylistic aspirations than your typical gothic chiller. David Niven plays Philippe de Montfaucon who has to head to his castle due to a bad season at his vineyard. He strongly urges wife Deborah Kerr and their two children to stay home but she comes anyway. It's immediately apparent that the farmers are part of some kind of cult and that local creepy/beautiful couple Sharon Tate and David Hemmings are up to absolutely no good.

At the time this movie was criticized for being over directed but I think it's visuals are it's strongest quality. The camerawork has a lovely…

Reminiscent at times of contemporary films like THE HAUNTING, the occult films of Mario Bava, SECONDS, and THE WICKER MAN, EYE OF THE DEVIL is a highly entertaining bit of British and French Satanism. With an editing style and camera work that were almost ahead of their time, this film gets a lot of mileage out of dark shadows, old fortresses, and creepy townsfolk. If there's one flaw in the film, it would have to be somewhat unbelievable stupidity of Deborah Kerr, who can't seem to understand that her children are probably in danger.

This was pretty good. Anything to do with the occult and Donald Pleasence is sure to capture my attention! I particularly liked the frenzied camera work and Sharon Tate and David Hemmings as a pair of cold eyed witch twins. Tate's performance is really good on it's own but her tragic murder (at the hands of a cult no less) only few years after this film gives it an extra coat of eeriness. It makes her character seem even more ghostly, as tasteless as that may be to say. Sadly it starts to lose steam as it goes along. Would have made a great 70-80 min film.

Philippe de Montfaucon (David Niven) is an ex-pat Frenchman living in England with his wife Catherine (Deborah Kerr) and their two small children when he is called back to his estate which stands on the brink of ruin with the wine crop having failed for a third year.

Despite his obvious trepidation he answers the call, refusing to take his family with him because of the wariness of the locals when it comes to outsiders, recognising that it is his duty to heed the call.

And that is what lies at the heart of the story, duty. And this is more than just a simple obligation to the…

An arrow of psychotronic sorcery. Mesmerizing, metaphysical, monochromatic, mad in the head. Combining family crisis melodrama of the 1950s with giant gothic castles and deep forest druid cult ritualizing. Certain times almost feels like Bava’s Eyes Wide Shut. David Hemmings, Donald Pleasance, Sharon Tate, all in the same cult. I live for this type of nonsense.

First time watching this movie . Movie was to me a classic British horror movie . The acting is great . A classic horror movie for any horror fan . I think this movie needs an up dated movie . Tell Hollywood to stop making movies from classics and start making movies from not that know of good movies from the past..

SUPER stylish. Great setting, great performances, great photography, cool mystery. I see now what all the fuss was about with Sharon Tate. She's captivating. David Niven plays against type by adding a disturbing undercurrent to his suaveness. And Deborah Kerr keeps me interested in her investigation of the strangeness that's fallen over her family.

Weak ending, though, and Donald Pleasence's over the top creepiness just about ruins the scenes he's in.